Dizzy Mizz Lizzy | ||||
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Studio album by Dizzy Mizz Lizzy | ||||
Released | 4 March 1994 | |||
Recorded | 1993/1994 Focus studio (Copenhagen) Grapehouse studio (Copenhagen) |
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Genre |
Grunge Alternative rock Power rock |
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Length | 54:50 | |||
Label | EMI-Medley | |||
Producer | Nick Foss, Dizzy Mizz Lizzy | |||
Dizzy Mizz Lizzy chronology | ||||
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Dizzy Mizz Lizzy is the eponymous debut album of the Danish rock band Dizzy Mizz Lizzy, released in on 4 March 1994.
Before the album was even recorded, the songs "Waterline" and "Silverflame" from the band's 1993 demo received heavy rotation on radio stations, including DR P3 and DR P4. "Waterline" became the banner anthem for the grunge wave that hit Denmark, even though the band thought it was one of the least obvious songs to become a hit. Because the demo was only in limited circulation, the album was pre-ordered by over 7,000 fans. Despite a growing demand, the band took some time in search of the right label to represent them. They rejected several foreign offers before being contracted to EMI-Medley by Nick Foss, whom they knew from his work as producer for D-A-D and The Sandmen. They went into the studio with Foss for three months. Lead singer and guitarist Tim Christensen recalls: "We were very nervous, even when we went into the studio to record. We have continually received positive criticism, so we felt that there was a huge burden on our shoulders."
In two months' time following the 4 March 1994 release, it won a gold record for having sold over 40,000 copies; two months later it won platinum, and another two months later sales had exceeded 100,000 copies. By 1996, sales were up to 180,000 copies, by which time it was the fastest-selling Danish debut ever. To date it has sold over 250,000 copies in Denmark, a sales record that still stands and is good for 5× Platinum. The album was well received and described as "Paul McCartney meeting Led Zeppelin in Seattle", although others were more critical, putting it as "A record and a band that have not added anything new to rock music, but who nevertheless have set completely different standards for Danish rock," especially in terms of the music becoming louder. Its success "only tolerates national comparison with the merits of Gasolin' in the 1970s and the international adoration of Aqua". A review in the Danish music magazine GAFFA described it as: